|
12377 |
THTR
101 Introduction
to Acting |
Lynn Hawley |
M . W . . |
10:10 - 11:30 am |
FISHER PAC |
PART |
3
credits This
course, intended for prospective theater majors, focuses on accessing the
beginning actor’s imagination and creative energy. Using theater games, movement work, and
improvisational techniques, the intent is to expand the boundaries of accepted
logic and to encourage risk-taking in the actor. Course work includes intensive classroom
sessions, individual projects designed to promote self-discovery, and group
projects focused on the process of collaborative work. Class
size: 18
|
12386 |
THTR
101 Introduction
to Acting |
Naomi Thornton |
. . . Th . |
3:45 -5:45 pm |
FISHER PAC |
PART |
2
credits
Scene preparation and beginning scene technique. Emphasis on relaxation,
breathing, and concentration.
Teaching the actor to make choices and implement them using sense memory
and to integrate this work with the text.
Group and individual exercises and improvisations. Continuous
work on the acting instrument stressing freedom, spontaneity, and individual
attention. Materials: poems, monologues, stories, and scenes. Reading of American plays, 1930 to
present. Class size: 14 (+ wait list)
|
12380 |
THTR
103 Acting
Company |
Jonathan Rosenberg |
. T . Th . |
11:50 -1:10 pm |
FISHER PAC |
PART |
3 credits
Corresponding with Directing Seminar, actors work with student directors on
scene work for in-class presentation. Open to first year students.
Class
size: 15
|
12382 |
THTR
131 Voice for
Majors |
Elizabeth Smith |
. T . . F |
10:10 - 11:30 am |
FISHER PAC |
PART |
2 credits
This course is designed to develop an awareness of the importance of physical
relaxation, breath capacity and control, resonance and
placement. There will also be an emphasis on clarity of articulation and the use
of vocal range and inflection. This course is intended for moderated and
prospective theater majors. Class size:
12
|
12396 |
THTR
141
A
Alexander Technique I |
Judith Muir |
. . . . F |
2:30 -3:50 pm |
FISHER PAC |
PART |
1 credit.
The Alexander Technique is a powerful method of touch, which is able to ease
tensions and bring comfort with an almost miraculous immediacy. It enhances our
natural co-ordination and develops within us an increased awareness of self and
body usage. This allows us to see choices and possibilities previously hidden
and act accordingly.Through simple everyday movements
of standing, sitting, walking, we can examine and identify the levels of effort
that accompany these actions so that we can change inefficient movement
patterns, restoring our natural co-ordination. These principles are easily
applied to any activity and have a beneficial effect on the quality of our
life. Class size: 15
|
12397 |
THTR
141
B
Alexander Technique I |
Judith Muir |
. . . . F |
4:00 -5:20 pm |
FISHER PAC |
PART |
See above. Class
size: 15
|
12578 |
THTR
207A Playwriting |
Chiori Miyagawa |
. T . . . |
1:30 – 4:30 pm |
FISHER PAC |
PART |
4
credits An introductory course that focuses on discovering
the writer’s voice. Through writing exercises based on dreams, visual images,
poetry, social issues, found text, and music, each writer is encouraged to find
his or her unique language, style, and vision.
A group project will explore the nature of collaborative works. Students learn elements of playwriting
through writing a one-act play, reading assignments, and class
discussions. (No writing sample
required.) Class size: 15
|
12392 |
THTR
207
B Playwriting
I |
Jorge Cortinas |
. . W . . |
6:20 – 9:20 pm |
FISHER PAC |
PART |
4
credits
See above. Class size: 15
|
12387 |
THTR
208 Playwriting
II |
Jorge Cortinas |
. . . Th . |
10:10 – 1:10 pm |
FISHER PAC |
PART |
4
credits
This course will function as a writer’s workshop. Students focus on
developing a full-length play, with sections of the work-in-progress presented
in class for discussions. Students grow as playwrights by developing
characters and themes that are sustained through a full-length play. The
students will also read a wide range of dramatic literature and be exposed to
diverse styles of playwriting. Prerequisite: Playwriting I or Theatrical
Adaptations. Registration is by
invitation of the instructor. Contact Prof. Cortinas ([email protected]) prior to registration.
This course can be repeated for credit. Class size: 12
|
12381 |
THTR
209 Scene Study |
Jonathan Rosenberg |
. T . Th . |
1:30 -2:50 pm |
FISHER PAC |
PART |
3 credits A course
intended for students who have taken one semester of Intro to Acting and would
like to continue their study. The course deals with movement from a games oriented
curriculum into work with theatrical texts and discovery of the processes of
scene study. Class size: 18
|
12384 |
THTR
210 History of
Theater II |
Jean Wagner |
. T . Th . |
3:10 -4:30 pm |
OLIN 309 |
AART |
4
credits
This course is a survey of theater, drama and performance from a global perspective, from the eighteenth to
twenty-first centuries. We will begin with
18th century Sentimentalism and the relationship between theater and the
emergence of print culture; then continue with an examination of
Romanticism and other forms of theater as they relate to nationalism and
imperialism in
|
12391 |
THTR
212 Writing
Political Theater |
Chiori Miyagawa |
. . W . . |
1:30 – 4:30 pm |
FISHER PAC |
PART |
Cross-listed: Human Rights, Written Arts This
course will explore political expressions in the genre of plays. Throughout
history, theater has played important role in political life of various
cultures. It is a unique medium, which
communicates political message through creative tools to live audiences,
something that other forms of writing or speeches do not achieve. The students will read political plays by
world renowned authors and contemporary writers and write several short plays
and one longer play (30 min) on issues of their political interest. This is a writing workshop. No previous experience necessary, but you
must be interested in theater. Email Prof. Miyagawa at [email protected]
a brief paragraph of interest in order to register in the course. This
course can be repeated for credit. Class size: 12
|
12393 |
THTR
215 Physical
Comedy |
James Calder |
. . . . F |
9:30 - 12:30 pm |
FISHER PAC |
PART |
2
credits Beginning
with exercises in broad physicality, balance, rhythm, discovery, physical mask
and surprise, this class explores what about the individual student is unique and funny. When we begin to forget
what is an appropriate response, and imagine what we
would be like if we were never socialized, we begin to discover “the clown”
that lives in each of us. By embracing the archetypes of childhood and
reclaiming the “internal response” without the diminishing filter of
socialization, we start to lose the inhibitions that block us from being purely
expressive. This class encourages openness, invention, playfulness, generosity,
sensitivity, and courage.
Prerequisite: Introduction to
Acting. Class size: 15
|
12389 |
THTR
238 Dramaturgy |
Jean Wagner |
. . W . F |
11:50 -1:10 pm |
FISHER PAC |
PART |
This course will introduce students to
the fundamentals of this essential discipline and the many ways that it is
practiced. We will begin by examining models of dramatic structure, the
fundamental building blocks of dramatic literature and how analyzing a play’s
structure is useful to directors, playwrights and actors. We will
consider models of dramatic structure from Aristotle to Shakespeare,
neoclassicism and the well-made play, to post-dramatic theater. Secondly,
through in-depth analysis and theoretical and historical readings, we will
examine how the role of dramaturgy has evolved in historical practice.
Finally, we will explore the process of developing a coherent point of
view through weekly scene-work and collaborative projects in which
playwrights, actors, directors and dramaturgs
develop and present new works. There
will be two analytical papers, and weekly essays will
accompany performance projects. Pre-requisite: One
Semester of Theater History, or permission from the Professor. Class size: 15
|
12390 |
THTR
245 Speaking
Shakespeare |
Elizabeth Smith |
. T . . . |
3:00 -5:00 pm |
FISHER PAC |
PART |
2
credits This
course is intended for theater majors who wish to explore Shakespeare’s words as
actors and are interested in developing their voices to express his complex
thoughts and images. We shall concentrate on investigating soliloquies and
sonnets with a view to bringing his language to life.
By approval of the Professor. Class
size: 12
|
12379 |
THTR
303 Directing
Seminar |
Jonathan Rosenberg |
. T . . . |
10:10 -1:10 pm |
FISHER PAC |
PART |
4 credits
This is a studio course that covers the practice of directing from text analysis,
‘table work’, imagining the world of the play, design, casting, space,
rehearsal and blocking in different configurations. The work will proceed from
scenes to a full-length work. By permission of the
instructor.
Class
size: 15
|
12395 |
THTR
307 Advanced
Acting |
James Calder |
. . . . F |
1:00 -4:00 pm |
FISHER PAC |
PART |
3 credits
This is a studio acting class where students will explore scenes from
challenging plays of varied styles. Extensive rehearsal time outside of class is
required. Pre-requisites: for acting majors: Intro to Acting and Scene Study.
For all others: Intro to Acting. Class size: 15
|
12388 |
THTR
308 Advanced
Scene Study |
Naomi Thornton |
. . . Th . |
1:30 -3:30 pm |
FISHER PAC |
PART |
3
credits
Scene Technique with work on specific rehearsal tasks and practice of
their application. Continued work on the acting instrument, understanding the
actor as artist and deepening the physical, emotional, intellectual connection
and availability of each actor. Advanced individual
exercises, scenes, and monologues from all dramatic literature. Intended for Upper College students, others by permission. Repeatable for credit.
Prerequisite: Introduction to Acting.
Class size: 12
|
12193 |
THTR
310
A
Survey of Drama: The Birth of Tragedy
and The Death of Tragedy |
Thomas Bartscherer |
. . W . . |
10:10 - 12:30 pm |
FISHER PAC |
AART |
Cross-listed:
Classical Studies, Literature Two
pivotal works in the history of the interpretation of tragic drama—The Birth
of Tragedy by Friedrich Nietzsche and The Death of Tragedy by George
Steiner—will set the agenda for our inquiry into the origins of western theater
in the dramas of classical antiquity and the fate of tragedy as an art form in
the modern world. In addition to assiduous study of Nietzsche and Steiner, we
shall be reading a broad selection of the tragedies these authors discuss,
including plays by Aeschylus, Sophocles, Euripides, Shakespeare, Racine, Büchner, and Beckett. We shall also watch film adaptations
of selected tragedies and, schedule permitting, attend a staged performance.
The course will integrate close reading, literary and philosophical analysis,
and practical scene work. All readings will be in English. Class
size: 15
|
12385 |
THTR
310
B
Survey Drama: Dangerous Theater |
JoAnne Akalaitis |
. . W . . |
1:30 -4:30 pm |
FISHER PAC |
AART |
"Dangerous, 1.HAZARDOUS,
PERILOUS 2.able to inflict injury." What
is the difference between dangerous and frightening, disturbing, provocative or
violent? It may be that no matter how violent or thought-provoking theater is,
in the end it is merely high or low entertainment. In this course we will
examine what dangerous theater could mean. Could it have any relationship to Artaud’sTheatre of Cruelty? Certain works
will be examined, including Euripides’ The Bacchae
(Is Greek tragedy dangerous? What is tragedy?); Seneca (the great predecessor
to Jacobean Drama) and his play Thyestes;
|
12378 |
THTR
318 Visual
Imagination of the Modern Stage |
Daniel Fish / Kaye
Voyce |
M . . . . |
1:30 -4:30 pm |
FISHER PAC |
PART |
4
credits A
course taught by leading designers and directors in the field. It examines the
explosive prominence of visionary visual ideas on the stage in the past 30
years, the emergence of a new form of collaboration between directors and
designers and the inclusion of the new media on the stage. This course is
required for upper-college theater students.
Class
size: 15